Travancore, where Kurukkals perform that function, garlands can only be prepared by one of these castes. The technical occupation of a Vāriyar in a temple is called kazhakam, which is probably derived from the Dravidian root kazhaku, to cleanse. Kazhakam is of two kinds, viz., malakkazhakam or garland-making service, and talikkazhakam or sweeping service, of which the former is more dignified than the latter. Under the generic term kazhakar are included making flower garlands for the temple, preparing materials for the offering of food, sweeping the beli offering, carrying lights and holding umbrellas when the god is carried in procession, having the custody of the temple jewels, etc. The Vāriyar is at the beck and call of the temple priest, and has to do sundry little services from morning till evening. He is remunerated with some of the cooked food, after it has been offered to the deity. The Văriyars are to Saivite temples what the Pishāratis are to Vaishnavite temples. Their prayers are prominently addressed only to Siva, but they also worship Vishnu, Subramanya, Sasta, Ganěsa, and Bhadrakāli. Their chief amusement is the farce called Kuttappathakam, the hero of which is one Vankāla Nikkan, and the heroine Naityar. An Ilayatu is the stage-manager, and a Pisharāti the actor. Parangotan is the buffoon, and Mappa his wife. In the eighteenth century, a grand festival lasting over twenty-eight days, called mamangam, was celebrated in British Malabar. The above characters are represented as proceeding to this festival, which came off once in twelve years on the Magha asterism in the month of Magha, and is hence popularly called Mahāmagha.
The Vāriyar caste is governed in all matters by the Nambūtiri Brāhmans, but they have their own priests.
